"... We recorded it June 6th and 7th at the Fillmore East in New York... I feel it was a very good release. I am pleased with the way it came out. We did it on 16 tracks and Barry Keene engineered it. The better cuts on the album were "Willie the Pimp" and "Peaches and Regatta [Peaches en Regalia]". It turned out very well.

The only real hassle was the fact that it was ready so quickly after the production. Usually there is a two or three month delay. We wanted to get it out fast and give the people north of the border a chance to get a look at it. We haven't heard the album yet, but we should hear the tapes tomorrow. I'll listen to it then." ...

"... I got a call from the Library of Congress two days ago, they wanted to use 200 Motels as a teaching device for film scoring for a course they're conducting. I told them I didn't own it, that United Artists owned it, so if they wanted to access to it, it had to come through them. That fell through because UA wanted to charge them too much money for access." ...

"... Some of them have been totally live, some have had orchestration added on. Fillmore East was about 90% pure live; Just Another Band From L.A. was 100%. That was a four-track recording right off the p.a." ...

"...An example of that is my playing on "Eat That Question" from The Grand Wazoo. Actually, that was a badly recorded solo. It's pretty hard to really stretch out when you are confined to a wheelchair which I still was from the accident when I recorded that." ...

... The album’s been out three weeks and it’s sold 90,000 copies. It’s the fastest selling album that I’ve ever put out. And that’s partly because we’ve been touring extensively over the past year. Whenever you tour your record sells. We did over 100 concerts last year; a big touring schedule." ...

... "For instance the Roxy album was perhaps the most popular album we ever had in France ... It outsold everything we ever put out, and it's the only place in the world where it was really heavy." ...

... "Now, it baffles me that a person could listen to One Size Fits All, which I think is an excellent album, and get to that song [sofa] and say "It loses me." First of all, it has got a nice little tune. Second of all, the production on it is good. Third of all, I think the words are great, and especially funny if you think of them in the context of the rest of what's going on. But that aside." ...

... "at the time that we did Bongo Fury, he [cap't beefheart] was flat broke. There was no way for him to record for anybody. He was stuck. So he did one tour with my band, and made that album, and then I haven't worked with him since that time." ...

... "there's "Disco Boy". That song came about because we were in Denmark and we went to a place there called the The Disc Club, and it was really poot. It was so make-believe sophisticated that it was embarrassing. The place was decorated like a playboy-type living room would sorta be like – lowboy chairs and snackettes on the table, and everybody drinks and dances to these robot beat records, which I happen to like you know. I'm very fond of monotony, I think it's an integral part of contemporary civilization and once you adapt to it you're better in phase with reality" ...

... "That was part of what started my lawsuit with Warner Bros. It's a really complicated legal story, and I don't want to recite it again. But the fact of the matter is that part of the lawsuit was settled out of court, and I got the rights to all of those masters back; I got all the tapes back. They're going to be part of the sets that are going to be remixed, remastered, and re-released." ...

... " I might point out that that's not the name of the album. That's just a further violation of the original contract. They don't have the right to resequence, repackage or retitle anything that I delivered to them. The original title of that album, as delivered to them, was Hot Rats III. I presume that that's just another snide attempt to undermine the merchandising of it. If you saw an album sitting in the rack with the title Sleep Dirt on it, you probably wouldn't be too intrigued by it." ...

... "Before Sheik Yerbouti we were doing 50,000 to 70,000 units worldwide. Sheik Yerbouti sold 1.6 million worldwide ... The reason for that was 'Bobby Brown'. Somebody in Norway decided that they liked the song very much and kept playing it in discos, and it became a hit in Scandinavia, then it was a hit in Germany. It was a Top Ten record again in Germany just last year. I don't know why." ...

... "Bogus Pomp is a compilation of main themes from 200 Motels which was a concert piece, for a forty-piece orchestra. It was just played again in the 120-piece version at the University of Wisconsin, along with Strictly Genteel. " ...

... "We went into the studio to cut a single, Joe's Garage on one side and "Catholic Girls" on the B-side. Then we started messing around while we were in there; next thing we knew, we had 17 tracks. I noticed a continuity in the text of the lyrics so I figured I'd add a few more things to give more continuity to it and make it into a story. So that's what we did.

Then it turned out to be a 3-record set. And with the recession taking its effect on the economy, it looked like nobody would have the money to buy a 3-record set when they're scrambling to buy gas and hamburgers, the important things in life. So I decided to split it up, putting out one record in August and the other two in November " ...

... "Basically, the way Tinsel Town Rebellion works is the first cut on side one is a studio cut since I figured that since it's a live album, they don't usually get played on the radio, that I would put something on there that would give people a three-minute song – very nice little tune called "Fine Girl" which may disturb some people and then the next cut is "Easy Meat" and the first part of that has a mass of keyboard overdubs done by Tommy Mars on this classical section and then after that, all the rest of the album is totally live including the vocals. Everything is just as it actually happened and the concerts that are recorded are from London, Berkeley, Los Angeles, Illinois, Dallas and one other place ... Philadelphia " ...

... "Well, they pressed 5,000 sets to begin with, and they went immediately like that [snaps fingers]. So, they ordered another 7,000. It's kind of an unusual item since it is fairly expensive, it's in a box, it's hard to rack, and you wouldn't think there'd be much demand for it because it is instrumental music by some guy who is not normally recognized as being a musician. People think of me as some kind of deranged comedian. So CBS was kind of surprised that there were that many orders coming in. " ...

... " I think that the album (You Are What You Is) really suffered from neglect from the radio stations. And when the album suffered from neglect so did the concert attendance, so something had to be done to draw people's attention to the fact that there was a really good album out there. But it didn't do any good; the album's a total stiff. Didn't sell, and it didn't get played on the radio. I think only two stations in the United States played it – one in Connecticut, the other in New York City. It's one of the best albums I ever made and it's one of the worst received. " ...

... " And as far as the ones in the studio go, I very seldom play studio guitar solos. On the Drowning Witch album, the solo on "I Come from Nowhere" was a studio solo, and that was like two hours worth of work to get a sound that I thought was suitable. And then about 20 minutes worth of playing: punching in or doing a take and not liking it and wiping the whole thing, or fixing part of it, or just tweezing it up." ...

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